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“This one takes us all the way back to the lo-fi glory of late-seventies punk, which I absolutely love. Chris Bassett’s drumming is full of conviction, Clint Rater’s bass play is just plain fun, and what could be sweeter than the breakdown midway through the piece, where Paul [Walter Carlos] Bearer’s bluesy guitar solo strikes a sassy tone that turns sinister just as quickly. The finish is unexpected and delightful (Ty Sheaffer on the trumpet, ladies and gentlemen). More unconventional instrumentation like this in heavy music, por favor!”

“It’s grittiness, a slight but detectable noise rock edge forced through a space rock filter, is what makes this so engaging and gives Funeral Horse an identity of their own. They have stepped up and released an album to hold aloft. As the bagpipes lead out the final track Gifts of Opium and Myrrh it feels like a fitting send off, a salute to a fantastic piece of work.”

“If judged on the merit of riffs alone, Texan tarnation masters Funeral Horse would be a holy grail of hard-rock. The constant shifts from road-rage solos to dusty blues riffs to pavement cracking noise-rock/hardcore to vintage 70s hard rock backed by a walloping rhythm section will keep you guessing and ducking for cover as to which direction the bombardment is coming from next. With band members lovingly named Paul Bearer (vocals/guitars) and Jason Andy Argonauts (bass), the entire project has the recipe for sheer global conquest via tongue-in-cheek humor laced into a serious, non-nonsense rock foundation.”

“Make no mistake, Funeral Horse specializes in the heavy. Muscular yet energetic with a caustic guitar tone and agitated, low-mixed vocals; along the way atmospheres of psychedelia are interspersed with tribal bombast […] the result alternating between moments of building tension and explosions of bruising power.”

“Gifts of Opium and Myrrh” brings that end sooner than I imagine many listeners will want, as the album feels like just a quick tour of the wild animals and wide vistas available to be put on display by the band at just a handful of minutes past half an hour. Of course, that will keep those ears eager for the next release, and busy soaking up the fuzz and grit from this one in the mean-time, so it’s hard to feel too put-off by the brevity. A twisting feedback stretch to bridge the way (laid to rest with a burst of instrumentation that works best as a surprise) helps ease the journey’s end, leaving first-timers to sit back and reflect on what an unusual one it was.”

“The scintillating doom character hearty Divinity For The Wicked is successfully ornate dynamically stoner elements and tough heavy rock nuggets, which combined with weak punk and post-hardcore irregularities of emerging Funeral Horse gives us an extremely heavy sound that proto metal vagrancy and macho in every note. In short, we are dealing with both rich and balanced and robust heavy sound, which I suppose that will satisfy classic doom sound lovers and lovers of modern stoner music, since the explosive Divinity For The Wicked of Funeral Horse standing on the verge heavy rock future and past. Beautiful.”